Editoriaal
Patrick Allegaert & Frederik De Preester
Verzamelen
als obsessie.
Interview met Bruno Decharme
[abstract]
Frederik De Preester
De
lange weg van volkskunst naar art brut.
Ontstaan en ontwikkeling van de
verzameling van Leszek Macak
[abstract]
Maciej Macak
Verzamelen
– een verslaving
[abstract]
Charlotte Zander
Arnulf
Rainer en outsiderkunst
[abstract]
Clara Ditz
Psychopathologie
des collectionneurs?
Six remarques générales sur
la psychanalyse et la collection
[abstract][text]
Gérard Wajcman
De
bemeestering van de drift in
Afrikaanse kunst en in het verzamelen ervan.
Een interview met Julien Quackelbeen,
maart 2006
[abstract][text]
Filip Geerardyn
VARIA
Violence
et discours
[abstract][text]
Christian Demoulin
Een
vergeten geschrift?
La douleur van M. Duras
[abstract]
Veroniek Knockaert
ARCHIEFTEKST
Freud
en de archeologie [text]
Suzanne Cassirer Bernfeld
VERZAMELEN
ALS OBSESSIE
INTERVIEW MET BRUNO DECHARME
Frederik De Preester
Collecting as Obsession
Summary: In this interview the Paris-based film maker and art brut collector, Bruno Decharme, talks about his passion for collecting works of art. He speaks poetically of his fascination for the works of psychotic patients and of his attempts as a director to capture the essence of outsider artists in his documentaries. He compares his collection to a creation that tries to provide answers but instead raises new questions.
Key words: Art Brut,
Bruno Decharme, Psychosis, Addiction, Collecting.
DE LANGE WEG VAN VOLKSKUNST NAAR ART BRUT ONTSTAAN EN ONTWIKKELING VAN
DE VERZAMELING VAN LESZEK MACAK
Maciej Macak
The Long Way from Folk Art towards Art Brut: The Birth and Development of Leszek Macak's Collection
Summary: In this paper the author sketches the coming into being and the development of his father's collection. Thirty five years ago, Leszek Macak acquired his first items of folk art as decoration for his newly built house. Soon his collector's passion made itself felt, directed in particular towards the folk art of the Polish mountain regions. These recollected episodes illustrate Macak's tireless efforts to expand his collection as well as his sincere love and admiration for the artists. A chance event resulted in a significant change of focus for the collection, from folk art towards art brut. Finally, some further vicissitudes of his father's collection are mentioned.
Key words: Folk Art,
Art Brut, Leszek Macak, Collecting.
Charlotte Zander
Collecting – An Addiction
Summary: Not without irony, the author relates the story of the origin and development of what, in the course of about 45 years of collecting, would become probably the world's largest collection of Art Brut, Naive and Outsider Art. Charlotte Zander started collecting as a young adult when for the first time she began to earn some money. The objects of her collecting passion were so-called votive pictures and gifts. After her marriage her interest shifted to avant-garde art and still later to Art Brut and Naive Art. The author follows her path from Cologne, via Heidelberg to Munich, where she founded an art gallery and eventually her own museum at Schloss Bönnigheim. With respect to the addictive aspects of collecting, the author stresses the craving to possess an object and the thrill experienced with each new acquisition.
Key words: Art Brut,
Charlotte Zander, Naive Art, Outsider Art, Addiction, Collecting.
ARNULF RAINER EN OUTSIDERKUNST
Clara Ditz
Arnulf Rainer and Outsider Art
Summary: The Austrian artist Arnulf Rainer has been collecting outsider art for half a century already. In the Vienna of the 1950s he himself was regarded as a mad outsider. In 1994 Rainer worked with psychotic artists at the mental hospital in Gugging. His interest is not so much in the visual aspect of outsider art, but rather in the way madness moves the hand across the page.
Key words: Arnulf
Rainer, Outsider Art, Collecting.
PSYCHOPATHOLOGIE DES COLLECTIONNEURS?
Six remarques générales sur la psychanalyse et la collection
Gérard Wajcman
The Psychopathology of Collectors. Some General Remarks on Psychoanalysis and Collecting
Summary: In Freudian and post-Freudian theory we find elements for a clinic of the collector. For instance, Karl Abraham's notion of the "anal character" has been used as a basis for the psychological profile of people who accumulate. But although most collectors do not present with these clinical symptoms, the idea of considering collecting as a pathological profile loses all meaning in a modern world so oriented towards materialism. In our society the collector is almost a prototype for what is considered normal. Therefore, it is not in a psychological sense that we need to look for his singularity, but rather within the context of a specific economy, which we can understand through George Bataille's definition of a "general economy". The collector is not a normal consumer because the basic idea of his own economy is not to accumulate but to spend. The problem of the collectors' economy – that of the true collector – is that it is not based on usefulness or profit but rather on pure loss. In contrast to the behaviour of the miser, the collector's behaviour could even be considered desirable, highly prized as indeed it was during the Renaissance. It is the extravagance of the person who spends on himself and others with flair and without calculation. But however civilised in our modern world, this virtue is always associated with scandals or even subversion.
Key words: Collecting,
The Arts Bachelor, The Collector's Desire, The Collector's Virtue.
DE
BEMEESTERING VAN DE DRIFT IN DE AFRIKAANSE KUNST EN IN HET VERZAMELEN
ERVAN
EEN INTERVIEW MET JULIEN QUACKELBEEN
MAART 2006
Filip Geerardyn
The Mastering of the Drive in African Art and its Collecting: An Interview with Julien Quackelbeen, March, 2006
Summary: This interview explores the origins of the African art collection of the psychoanalyst Julien Quackelbeen. A small Ikoko mask of the Pende tribe was the first object in his collection. This was given to him when he was just five years old and was then stolen. In this way it was to become the mythical first object of the collection he has been cultivating for more than seventy years. His fascination for Congolese art lies in what he calls "the mastering of the drive" which this art witnesses so strongly. This mastering of the drive is also implied in collecting in general. Several of its aspects are highlighted: the urge to possess, the financial aspect, fetishism, the viewing pleasure.
Key words: Congolese
art, Mastering of the Drive, Quackelbeen, Collecting.
VIOLENCE ET DISCOURS
Christian Demoulin
Violence and Discourse
Summary: Using Lacan's notion of capitalist discourse, the author provides support for the comprehension of actual discontent in our civilisation, for the "new symptoms" and for new forms of violence. Capitalist discourse substitutes the normative function of the law with the ideology of liberty. But the liberated man is isolated and his freedom is deceptive: he is increasingly dependant on the consumption of objects that provide him with a plus-de-jouir. A purely capitalist discourse is nothing but an ultraliberal utopia and its crises can only provoke the return of the master discourse, or worse, of the totalitarian discourse. Psychoanalytic discourse is considered as an alternative, albeit that it requires passage via the hysterical discourse.
Key words: Violence,
Capitalistic Discourse, Master Discourse, Consumption, New Symptoms.
EEN
VERGETEN GESCHRIFT?
LA DOULEUR VAN M. DURAS
Veroniek Knockaert
A Forgotten Manuscript? M. Duras' La Douleur
Summary: "J'ai retrouvé ce journal dans deux cahiers des armoires bleues de Neauphle-le-Château. Je n'ai aucun souvenir de l'avoir écrit. Je sais que je l'ai fait, que c'est moi qui l'ai écrit, je reconnais mon écriture et le détail de ce que je raconte, […], mais je ne me vois pas écrivant ce Journal. […] Je ne sais plus rien" (Duras, 1985a: 12). With these words, Duras ensnares the reader. With remarkable clarity, she describes waiting for Robert Antelme. How are we to understand her forgetting of this manuscript? Are we dealing with a Freudian forgetting? Has Duras really forgotten that she wrote her pain? Is it a simple lapsus or can we learn something new about forgetfulness here? Does something like a true forgetting exist, and if so, how should we characterize Duras' manuscript, forgotten, but nonetheless recognizable? With these questions as signposts, the author moves from Duras' book La douleur (1985a) to Laure Adler's biography of Duras.
Key words: Marguerite
Duras, Pain, Forgetting, Writing.
